A smart and quick-witted liar, he is unscrupulous in his means, while he is in a good mood, always ready to help, he is brave, although sometimes his words are bitter and cynical. In a normal mood, he is calm and collected, but in anger his quick wit sometimes fails him.

Figaro has many talents and skills. In the preface to The Barber of Seville, the author lists them: a talker, a writer of poems, a singer and a guitarist.

Living in Seville, he successfully shaved his beards, composed romances and arranged marriages, owned the surgeon's lancet and the apothecary's pestle with equal success, was a thunderstorm of husbands and wives' favorite.

Name

Name Figaro, probably coined by Beaumarchais himself. In the manuscript of the first play, The Barber of Seville, he used instead of Figaro more gallicized spelling - fiquaro. But later he changed it, and made it not only auditory, but also visually similar to the Spanish word picaro.

The word "pícaro" was originally an adjective and meant "cunning, cunning, cunning". But in the Spanish literature of modern times, it acquired a new meaning. Pikaro is the main character in the picaresque novel. Picaresque- a picaresque novel. A large number of picaresque novels, in which the protagonist was picaro, a cunning deceiver, sometimes hired as a servant, were created in Spain since the Renaissance. There was no such literary tradition in France. Gil Blas, completed by Lesage by 1735, is based on Spanish sources.

Frederick Grendel (Frederic Grendel) suggested that the name Figaro comes from Fils-Caron("Karon-son", from the real name of the author - Karon. noble name de Beaumarchais he took later).

Biography

Origin

Figaro is the illegitimate child of Dr. Bartolo and Marceline's former maid. Before leaving the woman with the baby, Bartolo, then still a doctor, heated his spatula and put a brand on his son's hand to recognize him if he ever met him again. When the boy was six years old, his mother asked the gypsies, who were then nomadic in Andalusia, to predict his future. They kidnapped the child. Since then, Figaro has been carrying his name and is engaged in trickery. He doesn't know who his parents are.

Career and vagrancy

Shortly before the beginning of the first play, Figaro serves in Madrid with Count Almaviva. Leaving, he gives him a recommendation to the ministry and asks to find a place for him. Figaro is appointed apothecary assistant at the Andalusian stud farm. After a while, he is fired. Returning to Madrid, Figaro tries his hand at the theatrical field, but fails. With a knapsack on his shoulders, he wanders all over Spain and, finally, settles in Seville.

Since then, Figaro's mother has grown old and runs the house of her old lover, Dr. Bartolo, who lives in Seville. The Doctor is the guardian of the young and beautiful Rosina. Count Almaviva falls in love with her and walks under the windows of her house in Seville. But Bartolo himself is going to marry his pupil and keeps her locked up. Count Almaviva accidentally runs into Figaro, his former valet. He just lives in the doctor's house and owes him 100 ecu. And he helps the count to marry Rosina under the nose of the guardian.

Settled life and marriage

A few years later, he lives in the castle of the Count and Countess Almaviva "Aguas Frescas", serves as the count's valet and housekeeper. He has a fiancee - Susanna, a girl from the local household, the countess's maid. But Count Almaviva, showing interest in Suzanne, is going to either prevent the marriage or negotiate with her about the right of the first night. The count renounced this right on the occasion of his marriage, but later, according to Susanna, "regretted" it. Figaro, Susanna and the Countess do everything to prevent the Count. Almaviva allows Marceline to sue Figaro for an unpaid debt. Marceline, not knowing that Figaro is her son, produces a receipt, and demands, according to her, money or marriage with Figaro. Unexpectedly, according to the mark left by Bartolo, it turns out that Figaro is the child of Bartolo and Marcelina, lost thirty years ago. Dr. Bartolo agrees to marry Marceline, Figaro becomes the legal fruit of marriage. As a result of the intrigue, Almaviva remains in the cold, and Figaro and Susanna are married.

Elderly age

Character evolution

Figaro. Sculpture by Jean Amy

Throughout the Beaumarchais trilogy, the image of Figaro undergoes changes.

On the other hand, Figaro, with some traits of his character, resembles the quirky, dexterous, sometimes crudely cynical Panurge, one of the heroes of Rabelais' Gargantua and Pantagruel, or Gilles Blas, who in the image of Lesage is a man who has experienced a lot, who has studied people's weaknesses and shortcomings well, accustomed to endure the hardships of life, sometimes resorting to tricks and deals with conscience.

Meaning

Figaro is the most striking literary image created by the dramatic art of the 18th century, the embodiment of the enterprising initiative of the third estate, its critical thought, its optimism.

But, possessing the resourcefulness and wit of these characters, performing, like them, the functions of the main engine of stage intrigue, Figaro is more significant and higher than the entire tribal group.

The image of Figaro is saturated with great political pathos; his sharp attacks against the "noble gentlemen" rise to protest against any social inequality, oppression and humiliation of a person, and these features of the image have preserved its sound for a century and a half and introduced it into a series of so-called. age-old images.

The merit of Beaumarchais, who artistically recreated this type, informed him of many of his views and aspirations, made him respond to the burning questions of French reality, at least disguised by an imaginary Spanish outfit, nevertheless remains undoubted.

Artworks

Plays

• "Le Sacritan", an early play by Beaumarchais (c.), featuring Figaro and Count Almaviva.

Main trilogy

1. The Barber of Seville, or The Vain Precaution, a play by Beaumarchais, ( Le barbier de Seville ou la précaution inutile, )
2. "Crazy Day, or The Marriage of Figaro", a play by Beaumarchais, ( La folle journee ou le Mariage de Figaro, )
3. "The Guilty Mother, or the Second Tartuffe" ("Criminal Mother"), a play by Beaumarchais, ( La mere coupable ou l'autre Tartufe, )

Other authors

• "Les premières armes de Figaro", a play by Sardou,
• "Figaro Gets Divorced" (Figaro laßt sich scheiden), a play by Eden von Horvath, (),
• "Le roman de Figaro", a book by F. Vitou (Frederic Vitoux), ().

Beyond the history of the real Figaro

• "Funeral of Figaro (Operatic Whodunnit)", a detective novel by British author Ellis Peters. The action takes place today. One by one, someone is killing the baritones who are playing the part of Figaro.

operas

Unlike the original titles of the plays written in French, the titles of the operas are in Italian (according to the language of the libretto).

• The Barber of Seville, opera by Giovanni Paisiello, ( Il barbiere di Siviglia, ovvero La precauzione inutile, )
• Operas based on the plot of The Barber of Seville - F. L. Benda (), I. Schultz (), N. Izuar ().
• Crazy Day, or The Marriage of Figaro, opera by Markos Portugal / La pazza giornata ovvero Il matrimonio di Figaro ()
• "The Barber of Seville", opera by Rossini, ( Barbiere di Siviglia, )
• The Marriage of Figaro, opera by Mozart, ( Le nozze di Figaro ossia la folle giornata, )
• The Guilty Mother, opera by D. Milhaud (Darius Milhaud)(La Mère coupable), written already in the 20th century.

Operas outside the trilogy

• "Ghosts of Versailles" (The Ghosts of Versailles), opera by D. Corigliano (John Corigliano), . The Phantom of Beaumarchais puts on an opera for the entertainment of the Phantom of Marie Antoinette. She "resurrects" the old days before the French Revolution, including the necklace scam. The protagonists of the trilogy coexist with real-life historical figures. Beaumarchais and Figaro work together to save the queen from execution.

Some performers

Portrait of Preville

• Preville (Préville) (1721-1799) was the creator of the image of Figaro in The Barber of Seville by Beaumarchais at the first production ().
• Dazenkur (Dazincourt), - the performer of the role of Figaro, who came to the taste of Beaumarchais
• Nikolai Batalov played his first big role on the stage of the Moscow Art Theater in a performance in 1927 (director Konstantin Stanislavsky, artist Alexander Golovin)
• Ermek Serkebaev - performer of the role of Figaro in the opera The Barber of Seville (State Academic Opera and Ballet Theater named after Abai (Alma-Ata)
• Russian actor Andrei Mironov repeatedly played this role (a TV version of the play was made), in addition, while playing this role on stage, he received a stroke, as a result of which he died in the hospital
• Dmitry Pevtsov - staged by M. Zakharov / "Lenkom",

Character

Figaro is inventive, witty, cheerful and energetic. He is a member of the lower class. Unusually quick-witted, he easily invents intrigues and achieves his goals.

Figaro, like his predecessor in the Commedia dell'arte - Brighella, is a smart and quick-witted liar, he is unscrupulous in his means, while he is in a good mood, always ready to help, he is brave, although sometimes his words are bitter and cynical. In a normal mood, he is calm and collected, but in anger his quick wit sometimes fails him.

Figaro has many talents and useful skills. In the preface to The Barber of Seville, the author lists them: a talker, a writer of poems, a singer and a guitarist.

Living in Seville, he successfully shaved his beards, composed romances and arranged marriages, owned the surgeon's lancet and the apothecary's pestle with equal success, was a thunderstorm of husbands and wives' favorite.

He has a gift for words: in Andalusia, his poems, riddles and madrigals were published in newspapers, which is why he was fired from public service. He wrote plays, worked in the theater (here are the personality traits of Beaumarchais himself). In a difficult period of his life, he walked all over Spain, sometimes he was in prison.

Figaro dresses smartly - in the list of characters in The Barber of Seville, his costume is described, this is how the Spanish majos dressed.

Name

Name Figaro, probably coined by Beaumarchais himself. In the manuscript of the first play, The Barber of Seville, he used instead of Figaro more gallicized spelling - fiquaro. But later he changed it, and made it not only auditory, but also visually similar to the Spanish word picaro.

The word "pícaro" was originally an adjective and meant "cunning, cunning, cunning". But in the Spanish literature of modern times, it acquired a new meaning. Pikaro is the main character in the picaresque novel. Picaresque- a picaresque novel. A large number of picaresque novels, in which the protagonist was picaro, a cunning deceiver, sometimes hired as a servant, were created in Spain since the Renaissance. There was no such literary tradition in France.

F.Grendel (Frederic Grendel) suggested that the name Figaro comes from Fils-Caron("Karon-son", from the real name of the author - Karon. noble name de Beaumarchais he took later).

Biography

Origin

Figaro is the illegitimate child of Dr. Bartolo and Marceline's former maid. Before leaving the woman with the baby, Bartolo, then still a doctor, heated his spatula and put a brand on his son's hand to recognize him if he ever met him again. When the boy was six years old, his mother asked the gypsies, who were then nomadic in Andalusia, to predict his future. They kidnapped the child. Since then, Figaro has been carrying his name and is engaged in trickery. He doesn't know who his parents are.

Career and vagrancy

Shortly before the beginning of the first play, Figaro serves in Madrid with Count Almaviva. Leaving, he gives him a recommendation to the ministry and asks to find a place for him. Figaro is appointed apothecary assistant at the Andalusian stud farm. After a while, he is fired. Returning to Madrid, Figaro tries his hand at the theatrical field, but fails. With a knapsack on his shoulders, he wanders all over Spain and, finally, settles in Seville.

Since then, Figaro's mother has grown old and runs the house of her old lover, Dr. Bartolo, who lives in Seville. The Doctor is the guardian of the young and beautiful Rosina. Count Almaviva falls in love with her and walks under the windows of her house in Seville. But Bartolo himself is going to marry his pupil and keeps her locked up. Count Almaviva accidentally runs into Figaro, his former valet. He just lives in the doctor's house and owes him 100 ecu. And he helps the count to marry Rosina under the nose of the guardian.

Settled life and marriage

A few years later, he lives in the castle of the Count and Countess Almaviva "Aguas Frescas", serves as the count's valet and housekeeper. He has a fiancee - Susanna, a girl from the local household, the countess's maid. But Count Almaviva, showing interest in Suzanne, is going to either prevent the marriage or negotiate with her about the right of the first night. Figaro, Susanna and the Countess do everything to prevent him. Almaviva allows Marceline to sue Figaro for an unpaid debt. Marceline, not knowing that Figaro is her son, produces a receipt, and demands, according to her, money or marriage with Figaro. Suddenly, according to the mark left by Bartolo, it turns out whose child he was lost thirty years ago. Dr. Bartolo agrees to marry Marceline, Figaro becomes the legal fruit of marriage. As a result of the intrigue, Almaviva remains in the cold, and Figaro and Susanna are married.

Elderly age

Character evolution

Figaro. Sculpture by Jean Amy

Throughout the Beaumarchais trilogy, the image of Figaro undergoes changes.

In the third part of the trilogy (“The Guilty Mother”), Figaro, aged and broken by life, is, as it were, a shadow of the former Figaro; he turned into an exemplary servant and an ordinary moralist, fighting very petty and insignificant opponents, and even then only in the interests of his masters.

Literary predecessors

The type of dexterous, witty, in its way talented and somewhat roguish "man of all trades" was repeatedly created before Figaro. These are cunning servants, superior in mind to their masters, who often met in comedies and farces of European literature, harlequins comedia dell'arte, slaves of Plautus and Terence. In France, this is Moliere's Sganarelle and similar characters in 18th-century comedies. In Spain, Figaro's predecessors are a long line of characters in a picaresque novel that has emerged as a separate national genre, starting with picaro Lazarillo from Tormes and ending with Quevedo.

On the other hand, Figaro, with some traits of his character, resembles the quirky, dexterous, sometimes crudely cynical Panurge, one of the heroes of Rabelais' Gargantua and Pantagruel, or Gilles Blas, who in the image of Lesage is a man who has experienced a lot, who has studied people's weaknesses and shortcomings well, accustomed to endure the hardships of life, sometimes resorting to tricks and deals with conscience.

Meaning

Figaro is the most striking literary image created by the dramatic art of the 18th century, the embodiment of the enterprising initiative of the third estate, its critical thought, its optimism.

But, possessing the resourcefulness and wit of these characters, performing, like them, the functions of the main engine of stage intrigue, Figaro is more significant and higher than the entire tribal group.

The image of Figaro is saturated with great political pathos; his sharp attacks against the "noble gentlemen" rise to protest against any social inequality, oppression and humiliation of a person, and these features of the image have preserved its sound for a century and a half and introduced it into a series of so-called. age-old images.

The merit of Beaumarchais, who artistically recreated this type, informed him of many of his views and aspirations, made him respond to the burning questions of French reality, at least disguised by an imaginary Spanish outfit, nevertheless remains undoubted.

Artworks

Plays

• "Le Sacritan", an early play by Beaumarchais (c.), featuring Figaro and Count Almaviva.

Main trilogy

1. The Barber of Seville, or The Vain Precaution, a play by Beaumarchais, ( Le barbier de Seville ou la précaution inutile, )
2. "Crazy Day, or The Marriage of Figaro", a play by Beaumarchais, ( La folle journee ou le Mariage de Figaro, )
3. "Guilty Mother, or Second Tartuffe" ("Criminal Mother"), a play by Beaumarchais, ( La mere coupable ou l'autre Tartufe, )

Other authors

• "Les premières armes de Figaro", a play by Sardou,
• "Figaro Gets Divorced" (Figaro laßt sich scheiden), a play by Eden von Horvath, (),
• "Le roman de Figaro", a book by F. Vitou (Frederic Vitoux), ().

Beyond the history of the real Figaro

• "Funeral of Figaro (Operatic Whodunnit)", a detective novel by British author Ellis Peters. The action takes place today. One by one, someone is killing the baritones who are playing the part of Figaro.

operas

Unlike the original titles of the plays written in French, the titles of the operas are in Italian (according to the language of the libretto).

• The Barber of Seville, opera by Giovanni Paisiello, ( Il barbiere di Siviglia, ovvero La precauzione inutile, )
• Operas based on the plot of The Barber of Seville - L. Benda (), I. Schulz (), N. Izuar (Nicholas Isouard) ().
• "The Barber of Seville", opera by Rossini, ( Barbiere di Siviglia, )
• The Marriage of Figaro, opera by Mozart, ( Le nozze di Figaro ossia la folle giornata, )
• The Guilty Mother, opera by D. Milhaud (Darius Milhaud)(La Mère coupable), written already in the twentieth century.

Operas outside the trilogy

• "Ghosts of Versailles" (The Ghosts of Versailles), opera by D. Corigliano (John Corigliano), . The Phantom of Beaumarchais puts on an opera for the entertainment of the Phantom of Marie Antoinette. She "resurrects" the old days before the French Revolution, including the necklace scam. The protagonists of the trilogy coexist with real-life historical figures. Beaumarchais and Figaro work together to save the queen from execution.

Some performers

Portrait of Preville

• Preville (Préville) (1721-1799) was the creator of the image of Figaro in The Barber of Seville by Beaumarchais at the first production (1775).
• Dazenkur (Dazincourt), - the performer of the role of Figaro, who came to the taste of Beaumarchais
• Nikolai Batalov played his first big role on the stage of the Moscow Art Theater in the play of 1927 (director K. Stanislavsky, artist A. Golovin)
• Russian actor Andrei Mironov repeatedly played this role (a television version of the play was made), in addition, while playing this role on stage, he received a stroke, as a result of which he died in the hospital.
• Dmitry Pevtsov - staged by M. Zakharov / "Lenkom",
• Yevgeny Mironov - in the play "Figaro. One Day's Events, dir. K. Serebrennikov / The Theater Company of Yevgeny Mironov,
• Sergei Bezrukov - in the play "Crazy Day, or the Marriage of Figaro", dir. Konstantin Bogomolov / Snuffbox,

Figaro in popular culture

• Figaro is the name given to a kitten created by Disney artists. First appearance - in Pinocchio. Later, he migrated to the Mickey Mouse universe as a cat owned by Minnie Mouse and a constant adversary of Pluto, a dog owned by Mickey Mouse. The most memorable appearance is in the film "House of Mouse". Figaro is also the name of a cat in children's books by the writer Marie-Therese Eglsaer, and a horse in the works of the children's writer Rebecca Anders.
• Figaro is the name of a fictional kingdom in Final Fantasy VI.
• Figaro- a model of a retro-style car created by Nissan in 1991 in a limited edition.
• Figaro- nickname of the writer Mariano José de Larra
• Figaro- the nickname of the dachshund in the films "Four taxi drivers and a dog", "Four taxi drivers and a dog 2"
• FIGARO- the largest international modeling agency that has created the world's first Online-School of Models for distance learning of modeling art.

see also

Notes

Literature

• Marc Monnier, "Les aneux de Figaro" (Par., 1868);
• Pierre Toldo, "Figaro et ses origines" (Milan, 1893);
• Iv. Ivanov, "The Political Role of the French Theater" (M., 1895).
• Claude Petitfrère, "1784, le scandale du Mariage de Figaro: prélude à la Revolution française"

Links

Wikimedia Foundation. 2010 .

Cunning and the ability to look after one's own interests in a difficult situation are not the worst qualities. This truth is regularly proved by Figaro - a devoted servant who knows how not to lose an advantageous place and not lose his bride because of a dispute with the owner. A clever rogue does not lose heart and does not hang up his nose. The man believes that luck is on his side. After all, Figaro knows the main thing: the more important the rich man is, the easier it is to circle him around his finger.

History of creation

The creator of the restless mocker and rogue was Pierre-Augustin Caron de Beaumarchais. The French playwright introduced a colorful figure into a play called The Barber of Seville, or The Vain Precaution. Figaro not only amuses the audience, the comic hero has become the central character of the comedy.

The author of the play put several of his own features into the image of the joker. Figaro is sarcastic but optimistic about life, just like the one who wrote The Barber of Seville. Following the sensational play, Beaumarchais created a sequel to the comedy - The Marriage of Figaro.

The play was shown in the theater when France was in a pre-revolutionary state. The questions that Beaumarchais covertly touches upon in the second part of the satirical comedy are understandable to everyone.

Figaro - a representative of the lower class - easily deceives the nobles and chuckles at the authorities. , who attended the premiere, wrote to a close friend:

"... It was already a revolution in action..."

No less success awaited the adventures of Figaro in Russia. Comedy was discussed in fashion salons and at receptions. The exploits of a rogue became a favorite book:

“If black thoughts come to you, uncork a bottle of champagne or reread The Marriage of Figaro.”

Just as popular was the second part about the Spanish servant, the third play about the adventures of Figaro turned out to be a failure. The moral drama in five acts, where the beloved Figaro has changed beyond recognition, was not accepted by the public.

For those who met the mocking servant, the hero will remain a dexterous rake who succeeded everywhere:

“I will do everything, only patience,
And not all at once, gentlemen!
Figaro... I'm here. Hey... Figaro... I'm there
Figaro here, Figaro here, Figaro there...

Biography

Figaro is an orphan who has been wandering from childhood to expensive houses in search of work. For some time the hero served in Madrid with Count Almaviva. After the man went to Andalusia to work as a veterinary assistant at a stud farm.

Instead of working, Figaro writes love songs, so the veterinarian fires the lazy worker. Having tried to make money by writing and having failed to cope with the competition, the hero returns to Madrid. Now Figaro is a wandering barber and healer.

A chance meeting with a former employer changes the hero's usual life. A man undertakes to help Count Almaviv to marry Rosina. The girl lives in the house of a local doctor and is strictly guarded by a guardian.

Having overcome difficulties and obstacles, getting out of ridiculous situations and constantly mocking the rich and their quirks, Figaro carries out his plan. The count is happily married to the woman he loves, and Almaviva's former servant is again accepted as housekeeper on the nobleman's estate.

Three years later, Figaro plans a wedding. The hero's chosen one, Susanna, serves the new countess. A joyful event is constantly postponed, as a married count has views of a lovely maid. In addition, the old apothecary, whom Figaro once deceived, does not miss the opportunity to take revenge on the servant.

The old man insists on the marriage of Figaro and Marceline, the old housekeeper, to whom the merry fellow owes money. A young page who is not indifferent to the countess is drawn into a confusing situation. The countess herself is not averse to teaching her loving husband a lesson.

The confusion is resolved in an unexpected way. Marceline recognizes in the merry fellow her own son, lost many years ago. Figaro's father turns out to be an old doctor, Rosina's former guardian. The Countess falls in love with her windy husband again. And Figaro and Susanna receive a large dowry for helping the couple resolve problems and maintain dignity.

Despite a series of unpleasant situations, Figaro does not leave the Count. A man receives a position as a valet at Almaviva. Already an elderly servant, forgetting insults, defends peace in the family of a nobleman. For the sake of the owners' peace of mind, Figaro exposes Almaviva's young secretary, who planned to divorce the spouses and take possession of the family's property.

So suddenly the characterization of the hero changes. From a satirical jester and joker, Figaro turns into a devoted dog who has forgotten insults and humiliation. Although literary critics see another subtext in the transformation of a man. Perhaps Figaro finally found the family he needed so much.

Screen adaptations and productions

The first production of The Barber of Seville took place in 1775. The role of Figaro went to the French actor Preville. In fact, the artist created an image from which other performers later repelled. The next Figaro was Jean-Joseph Dazencourt. The artist accurately conveyed the idea of ​​Beaumarchais, so the second production of the play was recognized by the writer as the best.

In Russia, the play "The Wedding of Figaro" was first shown at. They returned to the production in 1927. The image of Figaro embodied on stage. The director of the play is . It took a year and a half to rehearse and make costumes.

But the comedy gained all-Union fame thanks to the television version of the 1974 performance. , who played the main role in the film adaptation, played the role of Figaro on the stage for 18 years. The artist was buried in the costume of a comedic character.

The role of the great rogue has adorned the portfolio of others.

No less famous is the opera The Marriage of Figaro. The composer was inspired to create a work of libretto by Lorenz da Ponte. The premiere took place in May 1786. Interpretations of the opera can be heard in theaters around the world.

One of the most performed scores in Russia was the opera The Barber of Seville. The characters remained unchanged, as did the entire plot of the comedy. The composer wrote the music for the libretto in just 20 days. The part of the servant and pimp was performed by Luigi Zamboni, Lev Obraztsov, Andrey Baturkin, and others.

• The old meaning of the word "figaro" is a fitted short jacket. After the release of Beaumarchais's comedy, this term is used to refer to an intermediary in love affairs. Another meaning is a barber (hairdresser).
• A kitten owned by Minnie Mouse is named after the famous rogue. The dog Pluto became the main enemy of the cunning.

• In France there is a newspaper called Le Figaro. It is the oldest daily periodical.
• Figaro was first mentioned in Beaumarchais' play Le Sacritan. The hero appears on stage only once. The comedy went unnoticed by the audience.

Quotes

"Slavish mediocrity - that's who achieves everything!"

“Jealousy is an unreasonable child of pride or a fit of violent insanity. And if Susanna ever cheats on me, I forgive her in advance: after all, she will have to work so hard for this ... "

“And so it is always in life: we try, make plans, prepare for one thing, and fate presents us with something completely different.”

“Time is an honest man, as the Italians say, and they always tell the truth. Time will show me who wishes me harm and who wishes me good.

“To beat a person, and then, at the same time, to be angry with him - this is a truly feminine trait!”

The section is very easy to use. In the proposed field, just enter the desired word, and we will give you a list of its meanings. I would like to note that our site provides data from various sources - encyclopedic, explanatory, word-building dictionaries. Also here you can get acquainted with examples of the use of the word you entered.

The meaning of the word figaro

figaro in the crossword dictionary

Explanatory dictionary of the Russian language. D.N. Ushakov

figaro

; neskl., cf. A kind of short and wide ladies' blouse. (After the name of Figaro, the hero of the comedy of Beaumarchais.)

New explanatory and derivational dictionary of the Russian language, T. F. Efremova.

figaro

cf. non-cl. Short and loose women's blouse worn over a dress or blouse.

adj. unchanged Having the appearance of a short and loose women's blouse worn over a dress or blouse.

Encyclopedic Dictionary, 1998

figaro

"FIGARO" ("Le Figaro") the oldest French bourgeois daily newspaper, since 1826, Paris.

Figaro

"Figaro"("Le Figaro"), the oldest French daily newspaper. Published in Paris since 1826. Until the 2nd World War 1939√45 belonged to the magnate of the perfume industry Coty. After the war, the main block of shares passed to the large industrialist J. Prouvost, and in 1975 to R. Ersan, the owner of a number of provincial newspapers and entertainment magazines. It mainly reflects the views of the extreme right-wing monopoly and anti-communist forces. Circulation (1976) about 500 thousand copies.

Wikipedia

Figaro

Figaro (Figaro, fr. - Figaro, isp. Figaro) - the hero of three plays by Beaumarchais and operas created on their basis; a Spaniard from Seville, a clever rogue and a rogue, originally a hairdresser, then a servant of Count Almaviva. The name has become a household name.

Name "Le Figaro" in 1826 a French daily took over.

Also figaro- the name of a short Spanish jacket, ending above the waist and not fastening at the chest, worn by the character of Figaro and which became popular in Paris after the premiere.

Figaro (disambiguation)

Figaro

• Figaro (un figaro) is a barber.
• Figaro- the name of a short Spanish jacket, ending above the waist and not fastening on the chest.

Examples of the use of the word figaro in the literature.

In the third act, over the course of five paintings, inimitable in their amusingness, harmoniously coordinated like a ballet, a count, Rosina and Figaro they try to remove Bartolo for the time necessary for Almaviva to tell the girl something extremely important.

Beaumarchais, who knows everything, makes Figaro, who knows nothing, to say that he knows Bartolo as his mother, addressing the audience, who are also completely ignorant, - at first glance, cunning is completely aimless, since it has nothing to do with the development of the action.

If Beaumarchais is Figaro, then Almaviva is a society, an absolute monarchy.

I am convinced that as soon as the viewer of 1784 understood who Figaro, he could no longer be mistaken either in what exactly Almaviva personifies, or in the topicality of the whole work.

Do not be Figaro, the Almaviva spouses would probably have ended in an ordinary divorce.

Suddenly Rassi started up and with complete ease, smiling as if Figaro, caught red-handed by Count Almaviva, exclaimed: - By God, Count, I will not beat around the bush.

A cunning, suspicious, insightful psychologist, he is a dangerous opponent for Almaviva, Rosina and Figaro.

Four years after the demolition of the palace, the grave was dug up, and the ashes Figaro at the behest of Almaviva, they were buried in a Parisian cemetery.

In this absolutely outstanding letter, striking in its extreme courage, Beaumarchais allows himself to teach the king how Figaro- Count Almaviva, but if Figaro spoke like a servant, then Beaumarchais, talks like a master.

Only the aristocrat is too arrogant, and Figaro my own guy, so cute and smart.

But Ash, without any respite, moved on to the baritone aria of the barber Figaro.

It is clear that when noon struck, our busy throat Figaro he could not spare a moment to run off to have breakfast at the jangada, and he had to limit himself to a glass of acsai, a handful of boiled tapioca and turtle eggs, which he swallowed in between times, continuing to wield tongs.

Various Figaro and factotums, attendants and watchers scurried about incessantly.

He recalled the bright joy that had seized him when Pierre first read the play to him, and found it tasteless to deprive the comedy of its zest, and this zest was a daring mind. Figaro.

This rural Figaro, once a dyer, was the owner of an annuity of seven or eight thousand livres, a pretty house on a hill, a chubby wife and flourishing health.

Figaro is the hero of three plays by Beaumarchais, the double of the playwright himself. The type of dexterous, witty, in its own way talented and somewhat roguish "man of all trades" was repeatedly portrayed before Beaumarchais. Among the “ancestors of F.” can be attributed, for example, those cunning servants exceeding the intelligence of their masters, who acted in other comedies and farces of the Middle Ages and the Renaissance, along with Molière's Sganarelle and similar characters in French comedies of the 18th century. On the other hand, F. with some features of his character resembles

The dodgy, dexterous, sometimes rudely cynical Panurge, one of the heroes of Rablai's Pantagruel, or Gilles-Blaz, who in the image of Lesage is a man who has experienced a lot, who has well studied the weaknesses and shortcomings of people, who is accustomed to enduring the hardships of life, sometimes resorting to tricks and deals with conscience. The merit of Beaumarchais, who artistically recreated this type, informed him of many of his views and aspirations, made him respond to the burning questions of French reality, at least disguised by an imaginary Spanish outfit, nevertheless remains undoubted. Throughout the Beaumarchais trilogy, the image of F. undergoes some changes. In The Barber of Seville, this is, first of all, a cheerful, witty and resilient fellow, who has gone through fire and water, sometimes letting out rather well-aimed witticisms and ironic remarks, but has not yet risen to caustic satire and denunciations full of indignation. In The Marriage of F., especially in the well-known monologue of the fifth act, F. already acts as a spokesman for social and political protest, a like-minded encyclopedist, a predecessor of the figures of 1789. In the third part of the trilogy (“Guilty Mother”), F. is, as it were, a shadow of the former F.; he turned into an exemplary servant and an ordinary moralist, fighting very petty and insignificant opponents, and even then only in the interests of his masters.

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